the endless cycle of creation, destruction and reconstruction are musically referred to within this outstanding piece... sincere thanks for posting and greetings from tasmania
Kongeniale Transkription ganz im Geiste des kühnen Franz Liszt! Welch atemberaubende Registrierungen und inten- sive Leuchtkraft der Orgel! Bravo Madame LAURIN! Roger Paraventuisse, Bern
Taken to a whole new level. Congratulation !! A new level of magic related to how you've registered the various phrases. A total ear opener. Thanks for re-introducing this great work to my ears. Liszt's spirit must have guided you. More, please. CVD
Rachel has done an impressive performance on a very nice sounding "modern"organ situated in a building with very co-operative acoustics.., thank you for uploading this wonderful experience!
André Welten there are several recordings of the 1962 Beckerath Organ in the St. Paul Cathedral in Pittsburgh. The recordings were done as part of the regional AGO Convention. Nathan L’aube played the Reubke Sonata and other works . Not the sound and the video are remarkable!
The correct polyphonic version of the opening measures 1-7 and their return at the recapitulation (mm. 453-459) is published in Germany by Breifkopf and Härtel, and can be purchased unter the link issuu.com/breitkopf/docs/eb_8989_issuu
All the measures are so familar to me, all notes that were practised, or heard from live recitals or recordings,,,,,but the instrumentation is totally new to me.....an organ reincarnation !
Qual buontempone l 'amatissimo Liszt, l'aveva pensata per l'organo... Invece ... l'ha scritta per pianoforte!! Ho sempre pensato a questa sonata come se fosse musica per TUTTI gli strumenti. In effetti è sinfonica! Ottimo l organista e il trascrittore!
Not correct concerning the date of the first organ arrangement! The first ever transcription was made by Bernhard Haas, a Guillou pupil and professor and concert organist, and this already in 1984!
For a correct explanation of the two-voiced octave polyphony of the Liszt Sonata‘s opening measures (Lento assai, mm. 1-7) and their return at the Sonata's recapitulation (Quasi adagio, mm. 453-459), consult the article „Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues" by the noted Liszt scholars Tibor Szász, Gerard Carter and Martin Adler -- available (among others) on Academia.edu and on ResearchGate. Every interested organist should purchase the polyphonically correct organ transcription of the Liszt Sonata published by Breitkopf & Härtel in Germany.
Merci de cette version que je ne connaissais pas. Et pour éviter l'inverse, écoutez une autre version sur mon compte (envoyée en commentaire vidéo)! Il n'y a que quelques minutes du début sur la vidéo, la suite est sur le CD K617 consacré à Liszt (réf. K617229, distribution Harmonia Mundi), avec la Sonate en si mineur en première partie, et la Missa Choralis avec l'Académie vocale de Suisse romande en seconde. Et... vive Liszt à l'orgue!
The transcription is faulty. It is evident that the transcriber is ignorant of the two-voiced octave polyphony of the opening Lento assai of the Sonata (seven measures) which, contrary to what is heard here (descending scales), begins with three ascending musical gestures in the bass voice: an ascending minor seventh (G - F natural, m. 2), an ascending major seventh (G - F sharp, m. 5) , followed by several ascending, two-voiced octave jumps (Allegro energico, m. 8ff). A polyphonically correct organ transcription of the Liszt Sonata was published by the publishing house Breitkopf & Härtel in Germany, and is available under the link issuu.com/breitkopf/docs/eb_8989_issuu. All in all, the organ transcription heard here is both incorrect and artistically unsatisfying.
@@shadowentity_0043 No, it is not. There is only one correct solution, and Liszt made it abundantly correct in his so-called Lehman manuscript. 99 % of pianists and theorists fail are mistaken when they talked about frigian and descending scales in the beginning of the Sonata. The Sonata begins with a two-voiced polyphony, of which the top voice is actively stationary -- the drone G in the top voice (off-beats, syncopations) while the bottom voice leaps upwards in response to the top voice's off-beat "syncopations", first with a minor seventh interval followed by a descending scale, then a major seventh interval followed by a descending scale, then with upward octave jumps usurping the high register of the instrument, from which they are hurled down into the abyss in three installments. In other words, it is a seduction scenario in three chromatically rising ascending installments followed by three falling freefalls. Three gestures up, three gestures down -- as clear as a mathematical formula, and the new Breitkopf & Härtel transcription of the Piano Sonata is absolutely correct with the voice leadings and the voice crossings of the two voices which eventually join forces and become UNISONS, thus tumbling down in forte unison. Unfortunately, ALL piano solo Urtext editions of the Sonata are faulty in the opening measures. But at least we have a correct organ transcription with correct voice leading. Camille Saint-Saens in his two-piano transcription has also understood the correct voice leading of the Sonata. In the entire reception history of the Sonata, only three of Liszt's pupils plus a dozen or so editors have understood the need to correct the piano score os Liszt's masterwork. Liszt acknowledged at the end of his life to a student of his that he was "a poor-proofreader for his own compositions" -- a statement printed in a book published by the famous Liszt biographer Alan Walker. So essentially, it is Liszt's fault that 99% of musicians have failed to understand the score of the opening 9 measures which constitute the generative seed of the entire work. So the only source from which the score of the Sonata can be reconstituted correctly is the composer's autograph manuscript known as the Lehman Manuscript. It took me over 50 years to reconstitute the text of the Sonata. Luckily, I am not the only one :-) -- three of Liszt's close pupils have tried to bring out corrected editions of the Sonata, but their scores are ignored by Urtext editors. The three Liszt pupils who have deciphered correctly the text of the opening seven measures (Lento assai) are Arthur Friedheim, José Vianna da Motta, and Alexander Siloti. All three agree on the details of the corrected text.
This is too cool. Liszt would of been so pleased by this, I'm sure.
In fact, he is not, this would be awesome but for 2 organs, it needs more voices doing long notes.
@@lucasgust7720 He'd have pointers for sure, but I'm sure he'd like the sentiment.
the endless cycle of creation, destruction and reconstruction are musically referred to within this outstanding piece... sincere thanks for posting and greetings from tasmania
Kongeniale Transkription
ganz im Geiste des kühnen
Franz Liszt!
Welch atemberaubende
Registrierungen und inten-
sive Leuchtkraft der Orgel!
Bravo Madame LAURIN!
Roger Paraventuisse, Bern
Amazing sounds and playing this is going in my favourites.
Thanks
fantastic instrument and fantastic organ-version.....think FL will like this....
Taken to a whole new level. Congratulation !! A new level of magic related to how you've registered the various phrases. A total ear opener. Thanks for re-introducing this great work to my ears. Liszt's spirit must have guided you. More, please. CVD
The performance remains fantastic, though few have commented recently.
That's like watching a perfectly colorized version of a classic black&white movie. What a performance !
Rachel has done an impressive performance on a very nice sounding "modern"organ situated in a building with very co-operative acoustics.., thank you for uploading this wonderful experience!
André Welten there are several recordings of the 1962 Beckerath Organ in the St. Paul Cathedral in Pittsburgh. The recordings were done as part of the regional AGO Convention. Nathan L’aube played the Reubke Sonata and other works . Not the sound and the video are remarkable!
He was a rock star of his day. Even had the long hair.
this is something remarkable! Thanks for posting!
Martin Pechacek
You're right Martin.
extraordinary!
thank you!!
The correct polyphonic version of the opening measures 1-7 and their return at the recapitulation (mm. 453-459) is published in Germany by Breifkopf and Härtel, and can be purchased unter the link issuu.com/breitkopf/docs/eb_8989_issuu
Montréal represent :P
Transcribed and playing by Rachel Laurin.
25:00 - 31:00 is some top level stuff. Also this church and it's pipe organ look amazing.
All the measures are so familar to me, all notes that were practised, or heard from live recitals or recordings,,,,,but the instrumentation is totally new to me.....an organ reincarnation !
Wow this was exciting to listen to...I don't think there is one color she missed...the Beckerath sounds grand!!
Quite an instrument!
gracias,saludos
Qual buontempone l 'amatissimo Liszt, l'aveva pensata per l'organo... Invece ... l'ha scritta per pianoforte!! Ho sempre pensato a questa sonata come se fosse musica per TUTTI gli strumenti. In effetti è sinfonica! Ottimo l organista e il trascrittore!
Oratório de são Josef Montreal Canada ? Se for estive aqui em 1999 gostei muito .
21:40 - 23:37
Not correct concerning the date of the first organ arrangement! The first ever transcription was made by Bernhard Haas, a Guillou pupil and professor and concert organist, and this already in 1984!
For a correct explanation of the two-voiced octave polyphony of the Liszt Sonata‘s opening measures (Lento assai, mm. 1-7) and their return at the Sonata's recapitulation (Quasi adagio, mm. 453-459), consult the article „Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues" by the noted Liszt scholars Tibor Szász, Gerard Carter and Martin Adler -- available (among others) on Academia.edu and on ResearchGate. Every interested organist should purchase the polyphonically correct organ transcription of the Liszt Sonata published by Breitkopf & Härtel in Germany.
It looks like a Klais-Organ... and from wich church was this sent ? I love it - even there are `mistakes` :) I did not hear them :)
The Laurin arrangement no edited and published. The enregistrement and publication by the german label Motette.
She really should publish this...
Merci de cette version que je ne connaissais pas. Et pour éviter l'inverse, écoutez une autre version sur mon compte (envoyée en commentaire vidéo)!
Il n'y a que quelques minutes du début sur la vidéo, la suite est sur le CD K617 consacré à Liszt (réf. K617229, distribution Harmonia Mundi), avec la Sonate en si mineur en première partie, et la Missa Choralis avec l'Académie vocale de Suisse romande en seconde.
Et... vive Liszt à l'orgue!
Liszt
mui buena transcribcion,quien es sera el organista?
This is so magnificent. It sounds like orchestra. I think this is better than the orchestra version.
is it possible to buy the transcription? I mean who published the work?
It's not published up to now, you can try to contact Rachel Laurin, i believe she has a Facebook account...
The transcription is faulty. It is evident that the transcriber is ignorant of the two-voiced octave polyphony of the opening Lento assai of the Sonata (seven measures) which, contrary to what is heard here (descending scales), begins with three ascending musical gestures in the bass voice: an ascending minor seventh (G - F natural, m. 2), an ascending major seventh (G - F sharp, m. 5) , followed by several ascending, two-voiced octave jumps (Allegro energico, m. 8ff). A polyphonically correct organ transcription of the Liszt Sonata was published by the publishing house Breitkopf & Härtel in Germany, and is available under the link issuu.com/breitkopf/docs/eb_8989_issuu. All in all, the organ transcription heard here is both incorrect and artistically unsatisfying.
Something about the eye of the beholder I think.
@@shadowentity_0043 No, it is not. There is only one correct solution, and Liszt made it abundantly correct in his so-called Lehman manuscript. 99 % of pianists and theorists fail are mistaken when they talked about frigian and descending scales in the beginning of the Sonata. The Sonata begins with a two-voiced polyphony, of which the top voice is actively stationary -- the drone G in the top voice (off-beats, syncopations) while the bottom voice leaps upwards in response to the top voice's off-beat "syncopations", first with a minor seventh interval followed by a descending scale, then a major seventh interval followed by a descending scale, then with upward octave jumps usurping the high register of the instrument, from which they are hurled down into the abyss in three installments. In other words, it is a seduction scenario in three chromatically rising ascending installments followed by three falling freefalls. Three gestures up, three gestures down -- as clear as a mathematical formula, and the new Breitkopf & Härtel transcription of the Piano Sonata is absolutely correct with the voice leadings and the voice crossings of the two voices which eventually join forces and become UNISONS, thus tumbling down in forte unison. Unfortunately, ALL piano solo Urtext editions of the Sonata are faulty in the opening measures. But at least we have a correct organ transcription with correct voice leading. Camille Saint-Saens in his two-piano transcription has also understood the correct voice leading of the Sonata. In the entire reception history of the Sonata, only three of Liszt's pupils plus a dozen or so editors have understood the need to correct the piano score os Liszt's masterwork. Liszt acknowledged at the end of his life to a student of his that he was "a poor-proofreader for his own compositions" -- a statement printed in a book published by the famous Liszt biographer Alan Walker. So essentially, it is Liszt's fault that 99% of musicians have failed to understand the score of the opening 9 measures which constitute the generative seed of the entire work. So the only source from which the score of the Sonata can be reconstituted correctly is the composer's autograph manuscript known as the Lehman Manuscript. It took me over 50 years to reconstitute the text of the Sonata. Luckily, I am not the only one :-) -- three of Liszt's close pupils have tried to bring out corrected editions of the Sonata, but their scores are ignored by Urtext editors. The three Liszt pupils who have deciphered correctly the text of the opening seven measures (Lento assai) are Arthur Friedheim, José Vianna da Motta, and Alexander Siloti. All three agree on the details of the corrected text.
Whatever!